“Love” (2012, Austria-Germany-Kenya ), the first film of “Paradise”, Ulrich Seidl ́s trilogy, proposes a perspective which situates the viewer in an uncomfortable dilemma. The film will reveal both the patriarchal and colonial look. Faced with this confrontation, we wonder from the “intersectionality theory”: what is the role that sexuality devices play in relationships of domination according to the film representation. We intend to discern what types of power relationship have been established between the characters, how borders work here and how cultural conflicts are managed. We will analyze some of sex relationships of the protagonist focusing on the courtship moments which reveal diverse linguistic, social boundaries of gender, age and class, where hegemonic concept of romantic love is questioned at the same time, its function as a technique of power is showed. In the same way, we will check if these conflicts are solved or not during sex negotiations, and what is the role that colonial domination plays in the film.La mirada que propone "Amor" (2012, Austria-Kenia) que inicia la trilogía de"Paraísos" de Ulrich Seidl, coloca al espectador en un dilema incómodo. Se ponen de manifiesto tanto la mirada patriarcal como la colonial, colocando al enunciatario desde el punto de vista de la protagonista, una mujer blanca europea de clase media, frente a nativos kenianos en el contexto del turismo sexual occidental en África. Ante esta confrontación, nos preguntamos qué papel juegan los dispositivos de sexualidad en las relaciones de dominación que representa la película, y a partir de ésto nos proponemos discernir qué tipos de relaciones de poder se establecen entre los personajes, cómo funcionan las fronteras y cómo se gestionan los conflictos culturales.